Deep Slow Practice
“I wouldn’t be surprised if slow practice is the best technique to practice in.”
The effectiveness of slow practice has been confirmed repeatedly by great musician after great musician, and the principle holds true for tremolo as well. Despite the fact that performing tremolo requires great speed, practicing passages or even entire pieces at very slow tempos has numerous benefits for both technique and musicality. As Barrueco says, “It allows one to look at technique very closely.”
Besides providing the opportunity to observe technique with a magnifying glass, ultra slow practice gives the brain and fingers a chance to coordinate movements with an awareness that cannot exist at concert tempo. Slow practice allows us to hear everything that is happening on the musical front as well—harmonies, counterpoint, melodic lines, articulations, and other components that may escape our awareness at faster tempos.
But practicing tremolo in a slow and deep state of study is not as straightforward as it sounds, and what you get out of it can vary widely depending on how you focus your efforts. To begin with, you’ll need to first accustom your fingers, ears, and mind to slow practice. Play through just a small passage of a tremolo piece you are working on, and slowly build up to the entire piece. The metronome should be set to one 32nd note (a single note of the tremolo) to 42–60 beats per minute (bpm). Once this becomes comfortable and you’ve reached a meditative state of mind, try focusing on the following approaches, one at a time, as you play.
1) Fluid Movement or Gesture Focus – Despite the very slow pace, imagine the movements of the fingers in the context of the whole gesture.
2) Planting Awareness – Regulate the amount each finger rests on the string before pulling through. Awareness of the space between notes is important. If the space between notes is not even, or if some fingers plant early or late, tremolo will sound erratic even though the notes are articulated in time.
3) Deliberate Dynamic Control – Even though you would not play the piece with no dynamic variation, the ability to scrutinize and equalize the volume of each note is a skill that leads to greater control. Observe the tendency for most thumb strokes to dominate, or for notes plucked with m to lose clarity in our focus to complete the gesture.
4) Deliberate Musicality – The other side of the coin would be to include dynamics and musicality. This is harder than it sounds at such dramatically slow tempos, but focusing on maintaining musicality during slow practice clarifies musical intention.
5) Banish the Gnome – Turn off the metronome and focus your attention on the space between the notes.
Listen acutely and concentrate intensely to reap the numerous benefits of this powerful technique.
For more active practice techniques, check out: Mastering Tremolo
5 thoughts on “Active Practice Techniques to Improve Tremolo, Part 1”
“Banish the ‘nome?” Bad idea. Slow practice and metronomes are not inimical, they are both efficacious when used appropriately. They can even be used together, even in tremolo studies. Metronomes can easily be set for really slow practice.
You’re right. I suggest after having done extensive work with the metronome to also incorporate practice without it. Thanks for reading.
I understand that’ “banish the ‘gnome” is a cute turn of phrase, but why not just say to not rely exclusively on metronome work? It just seemed contradictory to me given what you had just written. I’ve never seen a student develop technical deficiencies that I suspected arose from too much practice with a metronome. Other than that I am in agreement with you.
The author didn’t say this literally.He said practice it with A metronome,And my take on “banish the gnome would mean to do so only when you have the piece down
Great comment. Thanks for posting.